When legendary filmmaker George Miller was last behind the camera, 2015’s Mad Max: Fury Road garnered 10 nominations and a ceremony high 6 victories in tech categories. Before he moves to Fury‘s prequel Furiosa, his in-between picture is Three Thousand Years of Longing and it’s premiered at Cannes before its late summer bow.
The fantastical romance casts Tilda Swinton as an academic whose life is turned upside down when she encounters a genie in the form of Idris Elba. If the movie is wishing for Oscar attention, the answer is cloudy as to whether that is granted. Early reviews have resulted in a 78% Rotten Tomatoes rating. Some critical reaction is gushing while some is decidedly more mixed.
Miller is, of course, known for visual skills and Longing could be in play for its Cinematography (by the great John Seale), Production Design, and Visual Effects. As for the leads, Swinton is (rather shockingly) just a one-time nominee when she won for 2007’s Michael Clayton. Elba is no time nominee having notably been snubbed for 2015’s Beasts of No Nation (for which he took home the SAG).
My feeling is that this would have to vault into serious Best Picture discussion (and for Miller’s direction) for Swinton and Elba to be viable. This will certainly have its vocal supporters based on Cannes chatter, but I’m not confident it will be enough. My Oscar Prediction posts will continue…
In 2015, Alex Garland nabbed an Original Screenplay Oscar nod for his directorial debut Ex Machina. That acclaimed sci-fi tale also surprisingly took the gold in Visual Effects over heavy hitters like Mad Max: Fury Road and Star Wars: The Force Awakens.
His 2018 follow-up Annihilation didn’t fare as well at multiplexes or with awards voters. Despite an 88% Rotten Tomatoes rating (Machina got a 92%), it failed to generate any nominations.
On February 20th comes Garland’s third behind the camera effort Men. Featuring Jessie Buckley and Rory Kinnear, the A24 release sounds like it’s right up the distributor’s dark alley. That means it may score better with critics than crowds. The RT is currently the filmmaker’s lowest at 83% (still pretty darn solid). Like Annihilation, don’t expect it to be in the Academy mix. My Oscar prediction posts will continue…
It’s been an entire week since The Slap… check that, the 94th Academy Awards where CODA parlayed its Sundance buzz from January 2021 all the way to a Best Picture victory.
That also means I’ve managed to wait a whole week without speculation for the next Academy Awards which will hopefully be a slap free zone. So what are some titles that could be vying for attention?
On May 27th and after numerous delays, Top Gun: Maverick will find Tom Cruise returning to his iconic role some 36 years after the original. There’s a decent chance it could be up for similar prizes that its predecessor landed like Sound, Film Editing, and Song (courtesy of Lady Gaga apparently). Visual Effects is a possibility as well.
My weekly Oscar prediction posts won’t begin until mid to late August. In the meantime, you’ll get individualized write-ups for pics that open or screen at festivals.
Yet for today – I feel the need. The need to identify 21 other 2022 titles that might end up on the Academy’s radar. Enjoy!
Armageddon Time
Despite acclaimed movies like The Lost City of Z and Ad Astra, James Gray has yet to connect with awards voters. This drama, rumored to be centered on his Queens upbringing, is the next hopeful and features a stellar cast including Anne Hathaway, Anthony Hopkins, and Jeremy Strong. Release Date: TBD
Avatar 2
The 2009 original amassed nine nominations and won took home three. The first sequel (there’s three more on the way) arrives in December from James Cameron. Will it capture the critical and box office magic of part one? That’s impossible to know at this juncture, but one can safely assume it’ll be up for some tech categories like Sound and Visual Effects. Release Date: December 16th
Babylon
Damien Chazelle is no stranger to the big dance. Whiplash was a BP nominee and J.K. Simmons won Supporting Actor. Chazelle took Director for his follow-up La La Land along with Emma Stone’s Actress victory and it almost famously took BP. First Man nabbed four nominations, but missed the top of the line races. Babylon is a period drama focused on Hollywood’s Golden Age and should be right up the Academy’s alley. The cast includes Brad Pitt, Margot Robbie, and Tobey Maguire. Release Date: December 25th
Canterbury Glass
Robbie also turns up in David O. Russell’s latest ensemble piece. Anytime he’s behind the camera, Oscar nods typically follow (think The Fighter, Silver Linings Playbook, American Hustle). Slated for November, the dramedy also features Christian Bale, John David Washington, Rami Malek, Zoe Saldana, Robert De Niro, Mike Myers, and… Chris Rock. Release Date: November 4th
Elvis
Arriving in June but with a Cannes unveiling in May, Baz Luhrmann’s musical bio of The King stars Austin Butler in the title role and Tom Hanks as The Colonel. If this doesn’t contend for the major awards, I would still anticipate potential tech recognition (Production Design, Sound, etc…). Release Date: June 24th
Empire of Light
Sam Mendes was likely in the runner-up position in 2019 for Picture and Director (behind Parasite) with 1917. His follow-up is an English set romance starring Olivia Colman (who would be going for her fourth nomination in five years), Michael Ward, and Colin Firth. Release Date: TBD
Everything Everywhere All at Once
From two filmmakers known collectively as Daniels, Once is already out in limited release with spectacular reviews (97% on RT). The sci-fi action comedy might be too bizarre for the Academy, but I wouldn’t count it out as its admirers are vocal. Picture, Director, Actress (Michelle Yeoh), and Original Screenplay are all on the table. Release Date: out in limited release, opens wide April 8th
The Fabelmans
Steven Spielberg directs a semi-autobiographical tale and cowrites with his Lincoln and West Side Story scribe Tony Kushner. The cast includes Michelle Williams, Seth Rogen, and Paul Dano. Needless to say, this is a major contender on paper. Release Date: November 23rd
Killers of the Flower Moon
Alongside The Fabelmans, this might be the most obvious nominee from a personnel standpoint. Martin Scorsese helms this western crime drama featuring Jesse Plemons, Lily Gladstone, and his two frequent collaborators Leonardo DiCaprio and Robert De Niro. Apple TV just became the first streamer to get a BP victory with CODA. This could be the second in a row. Release Date: November
Poor Things
In 2018, The Favourite scored a whopping ten nominations. Based on an acclaimed 1992 novel, Poor Things is Yorgos Lanthimos’s follow-up and it reunites him with Emma Stone along with Willem Dafoe, Ramy Youssef, and Mark Ruffalo. The plot sounds bizarre but it could also be an Oscar bait role for Stone and others. Release Date: TBD
Rustin
One of Netflix’s contenders is George C. Wolfe’s profile of gay civil rights activist Bayard Rustin (played by Colman Domingo). In 2020, Wolfe directed Viola Davis and Chadwick Boseman to nods for Ma Rainey’s Black Bottom. Look for Domingo to be a competitor and the supporting cast includes Chris Rock (maybe he will be back at the show), Glynn Turman, and Audra McDonald. Release Date: TBD
See How They Run
The 1950s set murder mystery could provide 27-year-old Saoirse Ronan with an opportunity to land her fifth nomination. Sam Rockwell, David Oyelowo, Adrien Brody, and Ruth Wilson are among the supporting players. Tom George directs. Release Date: TBD
She Said
Five years after the scandal rocked Hollywood, She Said from Maria Schrader recounts the New York Times sexual misconduct investigation into Harvey Weinstein. Zoe Kazan, Carey Mulligan, and Patricia Clarkson lead the cast. Release Date: November 18th
The Son
Florian Zeller won Best Adapted Screenplay in 2020 for The Father along with Anthony Hopkins taking Best Actor. This follow-up (based on the director’s play) finds Hopkins reprising his Oscar-winning part in supporting fashion. Other cast members seeking awards attention include Hugh Jackman, Laura Dern, and Vanessa Kirby. Release Date: TBD
TAR
It’s been a while since we’ve seen Todd Field behind the camera. Previous efforts In the Bedroom and Little Children received 8 nominations between them. A decade and a half following Children comes this Berlin set drama with Cate Blanchett, Noemie Merlant, and Mark Strong. Release Date: October 7th
Three Thousand Years of Longing
Scheduled for a Cannes bow in May, Longing is a fantasy romance from the legendary mind of George Miller (who last made Mad Max: Fury Road which won six tech Oscars). Idris Elba and Tilda Swinton star. Release Date: TBD
The Whale
Darren Aronofsky directed Mickey Rourke to a comeback narrative nod for 2008’s The Wrestler. Two years later, his follow-up Black Swan earned Natalie Portman a statue. Brendan Fraser is hoping for the same treatment with The Whale as he plays a 600 pound man attempting to reconnect with his daughter. Costars include Sadie Sink, Hong Chau, and Samantha Morton. I’d expect Makeup and Hairstyling could also be in play with this. Release Date: TBD
White Noise
Not a remake of the Michael Keaton supernatural thriller from 2005, this is Noah Baumbach’s follow-up to Marriage Story. Based on a 1985 novel, it’s the filmmaker’s first picture based on other source material. Marriage landed three acting nods (with Laura Dern winning Supporting Actress). The cast here includes frequent Baumbach collaborator Adam Driver, real-life partner Greta Gerwig, Raffey Cassidy, Andre Benjamin, Alessandro Nivola, and Don Cheadle. This could be Netflix’s strongest contender. Release Date: TBD
The Woman King
Expect this West Afrian set historical epic from Gina Prince-Bythewood to be heavily touted by Sony with awards bait roles for leads Viola Davis and Thuso Mbedu. The supporting cast includes John Boyega and Lashana Lynch. Release Date: September 16th
Women Talking
Based on a 2018 novel, Sarah Polley writes and directs this drama focused on eight Mennonite women and their story of abuse. The sterling cast includes Frances McDormand, Jessie Buckley, Ben Whishaw, Claire Foy, and Rooney Mara. Release Date: TBD
And that’s just a small preview of the features that could materialize for the 95th Academy Awards! As always, the speculation on this site will continue throughout the year and into the next. Stay tuned…
Continuing on with my Daily Streaming Guide for worthy titles available on various services – let’s call today the Alex Garland Edition. He’s the director behind both science fiction titles that are highly worthy of a look:
Netflix
We begin with his intelligent 2015 effort about artificial intelligence – Ex Machina starring Domhnall Gleeson, Oscar Isaac, and Alicia Vikander. Made for a reported lowly $15 million, this is the type of sci-fi that Stanley Kubrick probably would have been proud of. Machina even won the Oscar for Visual Effects over high-profile features like Mad Max: Fury Road and Star Wars: The Force Awakens. It also features one of the greatest out of nowhere dance sequences in cinematic history in my view.
Hulu
Garland’s excursion into high minded sci-fi continued with Annihilation, his 2018 follow-up. The visually stunning experience featuring Natalie Portman and Isaac (again) has themes that will stick with you post credits. And just like Ex Machina features a scene that floored me, so does this. The former involved dancing. The latter involves a human and a bear sharing the same voice. You’ll see what I mean. It’s terrifying and thrilling simultaneously.
The National Board of Review bestowed its annual honors today for the pictures of 2018 and they went green. That means it was a very good day for Peter Farrelly’s race relations drama Green Book and it might have come at just the right moment. It won Best Film at a time when its box office performance has been lackluster and lead Viggo Mortensen got into hot water for remarks at a recent event. The last three winners of the NBR top prize (Mad Max: Fury Road, Manchester by the Sea, The Post) all received Picture nominations at the Oscars (it’s worth pointing out that none of them won).
I don’t expect Green Book to emerge victorious at the Academy Awards, but this does help its case for a nomination. The NBR is also unique in that it names 10 other movies as their favorites beyond the big recipient. The list this year is as follows:
The Ballad of Buster Scruggs
Black Panther
Can You Ever Forgive Me?
Eighth Grade
First Reformed
If Beale Street Could Talk
Mary Poppins Returns
A Quiet Place
Roma
A Star Is Born
Over the past decade or so, usually 5-7 of those 11 honorees go on to Oscar recognition. In addition to Green Book, I’m currently assuming Black Panther, If Beale Street Could Talk, Roma, and A Star Is Born are in. That’s five. I’m also growing more confident that Mary Poppins Returns could manage to reach the final nine or ten nominees. The rest remain question marks. Eighth Grade and First Reformed seem to be gaining steam, but I’m uncertain they’ll get all the way to the top. The three that I believe are least likely are Can You Ever Forgive Me?, A Quiet Place, and Buster Scruggs.
Bradley Cooper took Directing honors for A Star Is Born and he’s already a safe bet for Academy inclusion. His costars Lady Gaga and Sam Elliot took the Actress and Supporting Actor races. All in all, it was a fine day for A Star Is Born. Elliot’s win is a boost for him and it’s a little surprising they didn’t name Green Book costar Mahershala Ali, considering the film’s other successes today.
Speaking of Green Book, the aforementioned Mr. Mortensen took Best Actor. He’s looking good for an Oscar nod, but I still put him behind Cooper and Christian Bale (Vice) when it comes to winning possibilities.
Regina King’s work in If Beale Street Could Talk earned her Supporting Actress and she’s a lock for Oscar inclusion.
Paul Schrader’s original screenplay for First Reformed was honored for the second day in a row after its Gotham Award. For the past couple of weeks, I’ve had Reformed just on the outside of my nominated predictions in that category. I foresee that changing on Thursday when I update them… though I’m uncertain which entry falls out between The Favourite, Roma, Vice, and Eighth Grade. Barry Jenkins took Adapted Screenplay for Beale Street and he’s got a real shot at the gold statue.
The notable snubs on the list are primarily BlacKkKlansman, The Favourite, First Man and Vice. However, it’s worth noting again that plenty of movies have missed the NBR cut and managed Oscar glory.
As for some down the line honorees – Incredibles 2 won Best Animated Film, RBG took Best Documentary, and Cold War got Best Foreign Language Film. All seem bound for the final five a couple of months from now.
And there’s your NBR report, folks! The New York Film Critics are on deck next and I’ll have a recap of that one Thursday!
Ten years ago tomorrow, The Dark Knight was unleashed into theaters. Looking back at the summer of 2008, you could argue that the two most important superhero pics in recent memory were released in that short time frame. Two months earlier in May of that year, Iron Man kicked off the Marvel Cinematic Universe which now stands at 20 films strong. Yet it was The Dark Knight that set box office records and brought critical appreciation of the genre to new heights. In a genre that has exploded in the 21st century, many consider this to be the crown jewel. I believe it’s certainly up on the Mount Rushmore.
A decade prior to its release, Batman had run into some trouble at multiplexes with the deservedly derided Batman and Robin. It was a disappointment both commercially and with reviewers. Joel Schumacher’s two run experiment with the iconic character had dissolved into campy non-fun. In the new century, Christopher Nolan was brought in to resurrect the franchise after making Memento and Insomnia.
2005’s Batman Begins would achieve that goal, but that was not apparent immediately. Despite glowing reviews, Begins started with $48 million at the box office and $206 million overall domestically. Those are solid numbers but some context is needed. That’s nearly $50 million less than 1989’s Batman made 16 years earlier. In other words, it wasn’t obvious that the eventual sequel would turn into a phenomenon.
That’s what happened. The Dark Knight had the advantage of pitting Christian Bale’s Caped Crusader against his most known foe, The Joker. Many questioned whether Heath Ledger (coming off an Oscar nomination for Brokeback Mountain) had the goods to fill Jack Nicholson’s shoes. Early trailers indicated the answer was yes. And he nailed it with an unforgettable performance. As we know, Ledger never got to witness the acclaim. He died six months before the picture’s release and it added a tragic level of publicity leading up to the premiere.
Once Knight was released, expectations were sky-high and it earned $158 million out of the gate. That was an opening weekend record which has since been surpassed by 14 movies including its sequel The Dark Knight Rises and seven other comic book themed experiences.
The Dark Knight still stands as the 10th highest grossing movie of all time and fourth biggest superhero effort behind Black Panther, Avengers: Infinity War, and The Avengers. It received eight Oscar nominations – something previously unheard of for something in its genre. That stands as another portion of its legacy. While Ledger would posthumously win Best Supporting Actor for his work, many figured The Dark Knight should and would nab a Best Picture nomination. It didn’t. And that caused the Academy to expand Best Picture from a finite five nominees to anywhere between five and ten (nine has been the major number most years in the decade following).
While no comic book film has managed a Best Picture nomination since then (Black Panther could change that this year), that rule change has perhaps allowed non-traditional awards material like District 9, Nolan’s own Inception, Gravity, The Grand Budapest Hotel, Mad Max: Fury Road, Arrival, and Get Out to garner nods.
And The Dark Knight, for many moviegoers, proved what comic book lovers had known all along. This material, done right, could truly be a work of art.
For 22 years now, the Mission: Impossible franchise has been a sturdy and profitable one for its star Tom Cruise. Two weeks from now, the sixth picture in the series Mission: Impossible – Fallout hits theaters stateside. Early reviews have been quite impressive with some critics hailing it as the best movie of the bunch so far. One prominent critic went as far to say it’s the best action flick since Mad Max: Fury Road. The Rotten Tomatoes score stands at 96%.
In case you forgot, Fury Road got itself a Best Picture nomination. That seems highly unlikely for Fallout, but it’s fair to speculate whether voters will choose to honor it in any way. If they do, it would probably be in a technical category or two with Sound Editing and Sound Mixing being the most obvious. Fallout is being hailed for its amazing action sequences (if there was an Oscar category for Best Stunts, that race could be a wrap).
Of the five Mission‘s that have preceded this, they have a collective Oscar nod count of zero. Just that fact makes it a long shot that part 6 receives any attention. However, if some of the tech category voters want to throw it a bone, it’s not out of the realm of possibility.
A brave airline pilot executes a miraculous landing on the Hudson River…
Ok, wrong movie as Jason Reitman’s Tully is delivered to theaters next weekend. The comedic drama stars Charlize Theron as a frazzled mom who gets some help from a kindly sitter played by Mackenzie Davis. Ron Livingston costars.
Tully debuted at the Sundance Film Festival to strong critical notices and it sits at 93% currently on Rotten Tomatoes. The film reunites Theron with her YoungAdult director and screenwriter Diablo Cody, who also scripted Reitman’s Oscar nominated Juno. It’s a break from the action for Theron after pics including MadMax: FuryRoad, TheFateoftheFurious, and AtomicBlonde.
Scheduled to debut on a rather low 1200 screens, Tully may open to a fairly smallish gross with hopes of legging out well in future weekends.
24 hours can change the dynamic considerably at this time in the Oscar season. When I made my weekly Oscar predictions yesterday, Richard Linklater’s Last Flag Flying was ranked 8th in my Best Picture possibilities with Blade Runner 2049 outside at #13.
Yesterday, support for Flag wavered a bit with a mixed critical reaction stemming from the New York Film Festival. On the other hand, Blade has sharpened its chances with reviews coming out this morning. Denis Villeneuve’s continuation of Ridley Scott’s classic sci-fi pic from 35 years ago is drawing raves (it’s at 97% currently on Rotten Tomatoes). The word “masterpiece” has been thrown around by some critics.
Bottom line: its chances for a Best Picture nomination have risen dramatically. Just last year, Villeneuve’s Arrival scored eight nominations, including Picture and Director. That could happen here again. While I doubt any of the actors (including Ryan Gosling and the return of Harrison Ford in the role of Deckard) will hear their names called, there are other races in play. This includes Adapted Screenplay, Production Design, Editing, both Sound categories, and Visual Effects (where it will almost certainly be named).
And then there’s Cinematography. Again, a nomination for its cinematographer Roger Deakins seems virtually assured. If so, it will mark his 14th nomination. The list of films he was nominated for? The Shawshank Redemption, Fargo, Kundun, O Brother, Where Art Thou?, The Man Who Wasn’t There, The Assassination of Jesse James by the Coward Robert Ford, No Country for Old Men, The Reader, True Grit, Skyfall, Prisoners, Unbroken and Sicario. Number of wins? 0. There’s definitely a feeling that Mr. Deakins is long overdue for his gold statue and the 14th time could be the charm.
When I made my box office prediction for 2049 earlier this week, I compared my $44.1 opening weekend estimate to Mad Max: Fury Road from two years ago. As of this morning, I’m thinking the opportunity is there for it to come close to Fury‘s 10 Oscar nominations too.
Blogger’s Note (10/04/17): I have revised my estimate up from $44.1 million to $52.1 million
Arriving 35 years after Ridley Scott’s now classic science fiction work, Blade Runner 2049 hits theaters next weekend. The sequel has been in development for pretty much the entire 21st century. The reported $185 million production is headlined by Ryan Gosling as an LAPD officer in a dystopian future who ends up teaming with original Blade Runner Deckard, played by Harrison Ford. Denis Villeneuve, hot off his Oscar nominated hit Arrival, handles directorial duties with Mr. Scott executive producing. Costars include Jared Leto, Ana de Armas, Robin Wright, and Dave Bautista.
Fans of the 1982 original are many as Blade Runner has become a beloved genre pic. One legitimate question: are younger audiences familiar enough with the source material? It may not matter much as early word-of-mouth for 2049 is very encouraging. Official reviews won’t be out until next week, but screenings have indicated this is a satisfying visual feast like its predecessor.
So how high can this open? The current October opening record belongs to Gravity at $55 million. Even with the positive buzz, I don’t see 2049 running that high. Tracking has indicated $40-$45 million and that sounds about right. In fact, a $45 million opening would match the debut of 2015’s Mad Max: Fury Road, another entry in a franchise that was dormant for decades and made a rousing return.
I’ll put this just under that mark for what should be a solid opening for Columbia Pictures, as it’s likely to perform well overseas too.
Blade Runner 2049 opening weekend prediction: $44.1 million
For my The Mountain Between Us prediction, click here:
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